Este trabalho buscou fazer recortes a partir de pesquisas bibliográficas em dados secundários históricos para elaborar uma linha cronológica da ornamentação, deste a pré-história até a década de 1990. Para atingir o objetivo especifico, foi necessário fazer recortes na história mundial, nas comunicações visuais, nas vestimentas e na ornamentação para que fosse possível elaborar as interfaces de todos os dados obtidos, saber como cada tópico influenciou no emprego de materiais, técnicas e também o uso dos ornamentos por parte de cada individuo. Os ornamentos caracterizam mundialmente os diferentes grupos e culturas e este é um relevante fator de estudo que pode ser muito abrangente em seus mais diversos aspectos. Sendo assim, sabe-se que a vestimenta, mais tarde vista como moda, estabelece uma relação entre pessoa e objeto; os indivíduos consomem a vestimenta pela necessidade da utilização da indumentária, podendo-se atribuir a ela uma diferenciação visual social. Paralelamente à vestimenta, há os ornamentos, detectados na vida do homem desde os primórdios, que atravessaram toda a história da humanidade até a sua chegada aos tempos atuais, na condição de serem requisitos tão necessários tanto quanto a própria vestimenta / The present article aimed to make cuts from library research in historical secondary data in order to elaborate a chronological line in ornamentation, since pre-history to the late 1990s. To achieve the specific purpose, it was necessary to make cuts in world history, in visual communications, clothing and adornment in order to make it possible to elaborate the interfaces of all obtained data, knowing how each topic influenced the use of materials, techniques and also use of ornaments by each individual. The ornaments worldwide characterize the different groups and cultures and this is a significant study factor that can be very broad in its various aspects. Thus, it is known that the garment later seen as fashionable, establishes a relationship between the person and the object; the individuals consume garment by the need for the use of clothing, and it may be attributed to it a social visual differentiation. In parallel to garment, there are the ornaments, detected in human life from the very beginning that have gone through the entire history of humanity until their arrival in the present times, in a condition to be requirements as necessary as the garment itself

L’agglomération de Glanum (Saint-Rémy-de-Provence, 13) occupée dès l’Age du Bronze jusqu’au IIIème s. ap. J.-C., selon la chronologie actuellement admise, constitue une référence ornementale et architecturale en Provence, pour sa période dite « préromaine ». Pourtant, des incohérences entre chronologie (IIIème-IIème s. av. J.-C.) et son ornementation architecturale (de référence italique) subsistent. Le centre monumental de l’agglomération « préromaine » est attribué aux populations grecques de Marseille par Henri Rolland, principal fouilleur du site archéologique, alors qu’Anne Roth-Congès propose de rendre l’agglomération aux populations indigènes locales. Nous avons choisi l’étude de la zone centrale du site actuellement dégagé, pour discerner les influences ornementales de l’architecture publique et définir qui habitait la ville, qui était à l’origine de sa monumentalisation et quel était alors son statut administratif. A l’époque impériale, le forum est construit sur un remblai permettant l’aménagement d’une large plate-forme qui autorise la conservation des édifices monumentaux et leur mobilier architectural associé. Nous avons eu l’opportunité de mener une fouille archéologique de faible ampleur dans cette zone. Les études de la stratigraphie et du mobilier céramique autorisent désormais une nouvelle chronologie dénouant les incohérences d’antan. L’étude du mobilier architectural montre une large influence italique mais avec des caractéristiques propres, inspirées des décors orientaux. L’examen des vestiges conservés met en évidence le même phénomène avec une adaptation des plans classiques à la topographie de l’agglomération. Enfin, le statut de l’agglomération reste difficile à décrypter, mais il s’inscrit dans le cadre de l’administration romaine qui se met en place dans le courant du Ier s. av. J.-C. / The urban area of Glanum (Saint-Rémy-de-Provence, 13) inhabited from the Bronze Age to the 3rd century A.D., according to the currently assumed chronology, constitutes a standard reference for ornamentation and architecture in Provence for the period known as “ pre-Romanesque”.Yet, some inconsistencies remain between its chronology (3rd- 2nd century B.C.) and its architectural ornamentation (with Italic reference). The monumental centre of the “pre-Romanesque” town has been ascribed to Greek populations in Marseilles by Henri Rolland, the principal digger of the archaeological site, whereas Anne Roth-Congès has proposed to give the town back to local native populations.We have chosen to study the central area of the currently cleared site in order to make out the ornamental influences of public architecture and to define who had lived in the town, who was at the origin of the creation of its monuments and which administrative status it had at the period.At the imperial time, the forum was built on an embankment permitting the development of a broad platform which allowed the preservation of monumental buildings and their associated architectural furniture. We had had the opportunity to carry out a small-scale excavation on this area. A close study of the stratigraphy and the ceramic furniture allowed from now on a new chronology which untangles the inconsistencies of former days.The examination of the architectural furniture shows a large Italic influence but with characteristics of its own, inspired by oriental décor. The study of preserved remains reveals the same phenomenon with an adaptation of classical plans to the topography of the town.Finally, the status of the town remains difficult to decipher but it must have been part of the Roman administration framework which was setting up in the course of the 1st century B.C.

Les pseudosuchiens représentent l'ensemble de la lignée des crocodiliens qui s'est différentiée de celle des dinosaures à partir du Trias inférieur (il y en a environ 250 Ma). A l'origine probablement endothermes et terrestres, les pseudosuchiens sont par la suite devenus ectothermes et certains d'entre eux sont retournés vers un mode de vie semi-aquatique lors de la transition Trias-Jurassique (200 Ma): les néosuchiens (formes encore représentées dans le nature actuelle) et les téléosauridés (disparus depuis le Crétacé). À l'image de certains taxons fossiles comme les " stégocéphales ", les pseudosuchiens présentent une ornementation composée de cupules et de sillons à la surface des os dermiques (toit crânien, mandibules et ostéodermes) qui a la particularité de se former par résorption osseuse au sein de ce groupe. L'étude d'os fossilisés et d'os sec par des techniques d'imagerie 3D combinées à des analyses phylogénétiques basées sur des caractères quantitatifs a montré que les formes amphibies présentent un développement accrue de l'ornementation. Par la suite, nos analyses histologiques à partir de prélèvements sur des crocodiliens vivants ont montré que ces cupules hébergent des bouquets vasculaires qui seraient possiblement impliqués dans les échanges de chaleurs en phase émergée et semi-émergée ainsi que dans le tampon, de l'acidité sanguine pendant les phases émergées (en apnée). Concernant les possible implications biomécaniques de l’ornementation, les analyses en éléments finis que nous avons effectuées à partir d’ostéodermes scannés en 3D ont montré que la présence d’ornementation n’avait pas d’influence ni sur la résistance mécanique des ostéodermes ni sur leur capacité à conduire la chaleur. Par conséquent, le rôle fonctionnel de l’ornementation serait strictement d’ordre physiologique en lien avec la mise en place d’un réseau sanguin péri-osseux qui faciliterait à la fois les transferts de chaleur entre l’organisme et l’environnement en phase d’exposition et le stockage du lactate dans les os dermiques en phase d’apnée. De plus, la mise en place de l’ornementation pourrait permettre le maintien de l’équilibre homéostatique phospho-calcique via la succession de résorption superficielle et de dépôt secondaires en périphérie des os dermiques suivant la trajectoire ontogénétique de chaque individu (phase de ponte, jeun prolongé...). / Pseudosuchia is the crocodylian lineage which split up with the dinosaurs since the Early- Triassic (around 250 million years ago). At first probably endothermic and terrestrial, pseudosuchians became secondarily ectothermic and some of them returned to a semi-aquatic lifestyle at the Triassic-Jurassic transition (200 Ma): the neosuchians (still present in current nature) and the teleosaurids (disappeared since the Cretaceous). Like some extinct vertebrate groups (« the stegocephalians »), the pseudosuchians possess a dermal bone ornamentation made of pits and grooves on the skull roof, the mandibles and the osteoderms but with the particularity to be excavated by resorption. The study of both fossil and dry bones combining 3D-data monitoring and quantitative data-based phylogenetic comparative analyses evidenced that the semi-aquatic forms possess a more excavated bone ornamentation. Further, histological analyses based on living animal sampling have revealed that the ornamentation pits always house a vessel proliferation which may be involved in heat exchanges during emerged and semi-emerged periods as well as acidosis buffering during submerged periods (apnea). Concerning the biomechanical and thermal implications, the finite element analyses performed on 3D-modeled osteoderms have proved that the bone ornamentation does not modify the osteoderm heat conduction nor their mechanical resistance. Consequently, we assess that the functional role of bone ornamentation shall mainly concern physiological implications through the set-up of a blood vessel network on the bone periphery (heat transfers, blood acidosis buffering; as hypothesized by previous authors). Secondarily, bone ornamentation may also be involved in phosphor-calcic homeostasis based on the succession of pit resorption and secondary superficial bone deposit in response to the specimens. life-long changes (eggshelling, diets.).

I investigate the function of dress as it relates to cultural retention in Paule Marshall's Praisesong for the Widow and Leslie Marmon Silko's Ceremony, drawing upon the work of fashion theorists Joanne Entwistle, Alison Lurie and Anne Hollander. My examination of the two novels is informed by several excellent scholarly works which hold that characters' well being is determined by the extent to which they connect with their folkloric roots, the central message in both Ceremony and Praisesong for the Widow. I build on this discourse by demonstrating that the novels' consistent attention to clothing is a device that situates characters psychologically in their spiritual journeys homeward, from fragmented self identity to incorporeal contentment. My investigation of the unique treatment of clothing and adornment as metaphor for the novels' crises finds that the images of dress in characters' internal and external worlds heightens the conflict and illustrates the resolution in both novels.

Sexual selection was defined by Darwin in 1871 as selection acting solely on reproduction success. It is known to act on males resulting in extravagant ornamentations or other attributes, but in recent years more studies have shown that sexual selection also act on females. There is empirical evidence in several taxa that the secondary sexual ornament also acts as a measurement on the females’ reproductive quality, it is an honest trait. In Gallus gallus the comb has been found to be an honest ornament. Quantitative Trait Loci have been found on chromosome 1 and 3 for comb- and egg size. The honesty of the comb is hypothesized to be caused by either a pleiotropic effect gene linkage. In this study an 8th generation Advanced Interline Cross was used to guarantee maximum recombination of alleles to observe phenotypic effects. 177 females were detained during 4 weeks to measure fecundity. Egg number, mean egg weight and total egg size were correlated to comb size: length, area and weight. Correlation between comb size and total egg weight were found to be negative, suggesting the comb to be a dishonest signal. The phenotypic measurements observed in this study suggest that the genes for egg production and comb size are linked, and this linkage has been broken in the F8 analysed in this study.

This thesis provides an analysis of the history and social context of the labret (lip plug) on the Northwest Coast of British Columbia over the last 5,000 years. Although labrets have typically been characterized as markers of ‘status’ with connotations of gender, the variability in observations made by early explorers and ethnographers suggests that this simplistic depiction belies a complexity in what aspect of social identity this form of personal communicated. Therefore, this research has sought to explore the relationship between labrets and social identity by conducting a comprehensive typological analysis by which to examine patterning in materiality through time and space. Although hindered by a lack of temporal data and contextual information on gender association, the results of this research demonstrate that there is geographical patterning at multiple scales—regional, sub-regional and even on the village or site level—which supports the hypothesis that the labret has been an exclusionary tradition conveying both individual and group social identity that varies through time and space in this region. The social meaning of labrets is further explored through research on contemporary labret use, which highlights a tension between individual expression and group acceptance that is expressed materially, contrasting the physical permanence of the labret and the mutability in social meaning conveyed. Finally, interviews with First Nations artists who include labrets in their art has shown that cultural identity both informs and is informed by a concept of shared heritage; thus, the labret is a symbol and expression of social identity that continues to hold significant meaning for the descendants of this heritage. Therefore, while simple correlations of the labret with ‘status’ and ‘gender’ are not wrong, nonetheless they betray the complexity of body ornamentation which, though manifested materially, is highly contextual. This research contributes to the ongoing anthropological discussion of materiality and identity, considering the ways that structured style is negotiated through practice, and asking whether this recursive, dynamic and dialectical relationship can be accessed archaeologically—a task that ultimately requires a commitment to reflexivity, multivocality, and critical examination of the research process itself.

Baigiamajame magistro darbe „Bioniškos architektūros ypatumai: konstrukcijos, ornamentika, ryšys su aplinka“ architektūra nagrinėjama bionišku aspektu. Bioniškos architektūros nagrinėjimo gaires nustato bioniškos architektūros apibrėžimas, pasak kurio bioniška architektūra – tai architektūra, grindžiama gyvosios gamtos formomis ir organizmų sandaros principais. Iš jo matyti, kad tiek gamtinių struktūrų taikymas statinių konstruktyvui, tiek gamtinių formų vaizdavimas architektūroje daro tuos statinius bioniškus. Kita vertus, harmoningas statinio įkomponavimas į jį supančią aplinką, netaikant anksčiau paminėtų būdų, o naudojant kitas priemones, taip pat gali būti organiškas. Taigi architektūriniai statiniai, kurių forma išsilieja iš jų paskirties ir konkrečių gamtinių sąlygų, – kaip tai įprastai vyksta gamtinės kilmės organizmuose, – šiame darbe taip pat įtraukiami į bioniškos architektūros apibrėžimą. Visiems trims bioniškos architektūros išraiškos būdams atskleisti parenkami jiems atstovaujantys architektai. Jų suprojektuoti statiniai naudojami tolimesnei analizei, ieškoma panašumų ir skirtumų tarp skirtingų bioniškos architektūros atstovų. Baigiamojo darbo tikslas yra įrodyti, kad taikant skirtingas išraiškos priemones galima pasiekti to paties pobūdžio rezultatą, šiuo atveju, bionišką architektūrą. / The final post-graduate work focuses on three different aspects of bionic architecture –i.e. construction, ornamentation and smooth connection with environment. These guidelines are based on definition of bionic architecture. It says that bionic building is the one projected whether under natural decorative motifs or natural structures. However, harmonic composition of the building and the surrounding landscape using different expressions also creates an organic look. Thus the whole work is based on the analysis of the basic features of the bionic buildings. Those distinctive and common features are analyzed and compared together to find the essential ones that reflect the bionic connection. The main cause is to seek and to prove through the research of similarities and differences, that all these edifices, built in different manner, has the same root – bionic architecture.

This thesis provides an analysis of the history and social context of the labret (lip plug) on the Northwest Coast of British Columbia over the last 5,000 years. Although labrets have typically been characterized as markers of ‘status’ with connotations of gender, the variability in observations made by early explorers and ethnographers suggests that this simplistic depiction belies a complexity in what aspect of social identity this form of personal communicated. Therefore, this research has sought to explore the relationship between labrets and social identity by conducting a comprehensive typological analysis by which to examine patterning in materiality through time and space. Although hindered by a lack of temporal data and contextual information on gender association, the results of this research demonstrate that there is geographical patterning at multiple scales—regional, sub-regional and even on the village or site level—which supports the hypothesis that the labret has been an exclusionary tradition conveying both individual and group social identity that varies through time and space in this region. The social meaning of labrets is further explored through research on contemporary labret use, which highlights a tension between individual expression and group acceptance that is expressed materially, contrasting the physical permanence of the labret and the mutability in social meaning conveyed. Finally, interviews with First Nations artists who include labrets in their art has shown that cultural identity both informs and is informed by a concept of shared heritage; thus, the labret is a symbol and expression of social identity that continues to hold significant meaning for the descendants of this heritage. Therefore, while simple correlations of the labret with ‘status’ and ‘gender’ are not wrong, nonetheless they betray the complexity of body ornamentation which, though manifested materially, is highly contextual. This research contributes to the ongoing anthropological discussion of materiality and identity, considering the ways that structured style is negotiated through practice, and asking whether this recursive, dynamic and dialectical relationship can be accessed archaeologically—a task that ultimately requires a commitment to reflexivity, multivocality, and critical examination of the research process itself.

abstract: From the time it was written, the aria "Largo al factotum" from Rossini's Il barbiere di Siviglia has been performed and ornamented in many different ways. The present study is an inventory and analysis of ornaments sung in 33 recordings from 1900 to 2011 and the major differences that they exhibit one from another. The singers in this study are baritones with international careers, who have performed the role of Figaro either at the Metropolitan Opera (New York) or at La Scala (Milan). The study identifies and tracks some of the changes in the ornamentation of the aria by noting common traits and new approaches across the one hundred eleven years of practice illustrated by the recordings. / Dissertation/Thesis / A Spreadsheet of the Artists and Ornaments Analyzed in Largo al factotum / March 6 2014 Andrew Briggs Lecture Recital Presentation / D.M.A. Music 2014

Este trabalho buscou fazer recortes a partir de pesquisas bibliográficas em dados secundários históricos para elaborar uma linha cronológica da ornamentação, deste a pré-história até a década de 1990. Para atingir o objetivo especifico, foi necessário fazer recortes na história mundial, nas comunicações visuais, nas vestimentas e na ornamentação para que fosse possível elaborar as interfaces de todos os dados obtidos, saber como cada tópico influenciou no emprego de materiais, técnicas e também o uso dos ornamentos por parte de cada individuo. Os ornamentos caracterizam mundialmente os diferentes grupos e culturas e este é um relevante fator de estudo que pode ser muito abrangente em seus mais diversos aspectos. Sendo assim, sabe-se que a vestimenta, mais tarde vista como moda, estabelece uma relação entre pessoa e objeto; os indivíduos consomem a vestimenta pela necessidade da utilização da indumentária, podendo-se atribuir a ela uma diferenciação visual social. Paralelamente à vestimenta, há os ornamentos, detectados na vida do homem desde os primórdios, que atravessaram toda a história da humanidade até a sua chegada aos tempos atuais, na condição de serem requisitos tão necessários tanto quanto a própria vestimenta / The present article aimed to make cuts from library research in historical secondary data in order to elaborate a chronological line in ornamentation, since pre-history to the late 1990s. To achieve the specific purpose, it was necessary to make cuts in world history, in visual communications, clothing and adornment in order to make it possible to elaborate the interfaces of all obtained data, knowing how each topic influenced the use of materials, techniques and also use of ornaments by each individual. The ornaments worldwide characterize the different groups and cultures and this is a significant study factor that can be very broad in its various aspects. Thus, it is known that the garment later seen as fashionable, establishes a relationship between the person and the object; the individuals consume garment by the need for the use of clothing, and it may be attributed to it a social visual differentiation. In parallel to garment, there are the ornaments, detected in human life from the very beginning that have gone through the entire history of humanity until their arrival in the present times, in a condition to be requirements as necessary as the garment itself